If you're using D-Log with ProRes, we've been getting pretty good results with the stock Arri LogC Rec709 LUT. (I work in FCPX, but Scott Randall has also confirmed it works well in Lumetri). For a little flatter result, The Canon C300mark II Clog to WideDR-Rec709 looks good as well. I'll be if you mess around with almost any stock log LUT, you won't be too far off, as they are generally pretty similar. If you are thinking about shooting h264,h265 in D-log -- I'd love to convince you to forget it. Those codecs reveal pretty strong banding, noise and macro blocking with LUTs applied.